by T. S. Eliot
[II] 107 = 162] WLLetter (with “OK” Pound), Boni, 1925+ ‖ There were footsteps on the stair, ts2 with first word ringed by Pound and del, and his “Re this point” and “Il cherchait des sentiments pour les accommoder a son vocabulaire” ts2a ‖ Footsteps shuffled on the stair, Q, Dial, Criterion, Hogarth ‖ Footsteps shuffled on the stairs. T/W
[II] 108–38 Under the firelight · · · upon the door] in the copy of Boni given by TSE to Vivien Eliot (dated “January 10th 1923”; Berg), this passage is scored, probably by her.
[II] 108–10 = 163–65] see The Death of the Duchess II 20–22:
Under the brush her hair
Spread out in little fiery points of will
Glowed into words, then was suddenly still.
[II] 109 = 164 fiery] little fiery ts2, with little del Pound ts2a points] points of will, ts2 with last two words ringed and del, with “dogmatic deduction but wobbly as well.” Pound ts2a
[II] 111–14 = 166–69] braced with “photography?” Pound ts2a ‖ the four lines inset, with 113 further indented 1974
[II] 112–14 = 167–69] quotation marks at heads of lines ts2, Boni, 1925, 1936, 1963, Valerie’s Own Book ‖ no quotation marks Dial, Criterion, Hogarth, 1974+, some reprints of Sel Poems and 1969 ‖ quotation marks at head of 114 only T/W
[II] 112 = 167 never speak.] ts2, Boni, British printings 1925–70, US 1932, US 1952, US 1963, Valerie’s Own Book, ms1960 ‖ never speak? Dial, Criterion, Hogarth, 3rd and 4th printings of Boni (1928, 1930), Mardersteig, 1971B, 1974+ (see Commentary)
[Poem I 58–59, 329 · Commentary I 629–32]
[II] 113 = 168] no indent ts2, printings prior to 1925, Valerie’s Own Book, ms1960 ‖ indent 1925+. The compositor of 1925 could not fit the last word, “What?” onto the line, so set it as a line of its own. In order to justify the preceding words, an initial indent and very wide word spaces were introduced. Ever since, the line has been indented as though a new act of speech (although no closing quotation marks have ever been added at the end of [II] 112). Probably, the lady continues speaking (see Textual History [II] 131), so, as in the drafts and earliest printings, the line should not be indented. What?] Think. What? ts2
[II] 115 = 170 are in] T/W, Boni+ ‖ met first in ts2, Q rats’] rat’s Hogarth alley] Q, T/W, Boni+ ‖ alley, ts2
[II] 117–28] the arrangement on the page of the later part of the dialogue was progressively changed from the way it appeared in the earliest typescript (WLFacs 10–13, WLComposite 174–82), which preceded the writing of 120. The next extant typescript, though not made by TSE, is Q:
117
“What is that noise?”
The wind under the door.
“What is that noise now? What is the wind doing?”
120
Nothing again nothing.
“Do
“You know nothing? Do you see nothing? Do you remember
“Nothing?”
I remember
125
The hyacinth garden. Those are pearls that were his eyes.
“Are you alive, or not? Is there nothing in your head?”
But
O O O O that Shakespeherian Rag—
The reading of Boni was numerically the same, but three words were omitted at the start of 125, and the narrow page caused 119, 122 and 126 to overrun, making the visual pattern very different and the number of lines hard to ascertain:
117
“What is that noise?”
The wind under the door.
“What is that noise now? What is the wind doing?”
120
Nothing again nothing.
121
“Do
“You know nothing? Do you see nothing?
122
Do you remember
“Nothing?”
I remember
125
Those are pearls that were his eyes.
“Are you alive or not? Is there nothing in your head?”
But
O O O O that Shakespeherian Rag—
The arrangement differed again in the Dial printing, notably with “The wind under the door” (118) and “Nothing again nothing” (120) each ranged to the right margin. In the Criterion and Hogarth settings, “The wind under the door” was stepped from “What is that noise?” and “Nothing again nothing” was indented to align with it. The setting of 1925 was different again, and other variations have followed (with, for instance, Penguin and 1963 indenting 111, 115, 117 because they follow line spaces).
[Poem I 59, 329–30 · Commentary I 632–34]
The arrangement of this passage in the present edition is based on a reading of the lines as comprising not only words spoken (given by TSE always in quotation marks) and words thought (or hummed in the case of the “Shakespeherian Rag”), but also two parenthetical intercalations describing the scene. This offers for the first time a consistent rationale for the indentings, rather than treating them as deliberately irrational.
In ts2, the only extant typing by TSE, the indenting of “I remember” (124), “But” (127) and “The hot water at ten” (135) is very different in each case, because they step down from 123, 126 and 134 respectively (which establishes their correct alignment). These part-lines are unspoken thoughts, in response to the spoken part-lines that precede them. In ts2, also, “The wind under the door” (118) appears to be a part-line stepped down from 117. However, the indenting in printed texts of “Nothing again nothing” (120, which does not appear in ts2) cannot be explained as stepping down, because it is not positioned after the end of the previous line. The alignment of “‘Do” (121) is also uncertain: the line originates as an emendation by Pound in ts2a (WLFacs 13); in Q and T/W it is stepped down from 120, but in 1936 and 1963 it is more deeply indented, and in Dial it is ranged to the right margin.
So it is more satisfactory to construe both 118 and 120 less as unspoken reactions to the words spoken than as intercalations, to be centred on the page in the manner of stage directions or a mise-en-scène.
“What is that noise?”
[The wind under the door.]
“What is that noise now? What is the wind doing?”
120
[Nothing again nothing.]
“Do
“You know nothing? Do you see nothing? Do you remember
“Nothing?”
I remember
125
Those are pearls that were his eyes.
This suggests that “‘Do” (121) is a part-line, but stepped down not from 120, but from 119: “‘What is that noise now? What is the wind doing?’”, so that although interrupted by “Nothing again nothing”, the whole line, all spoken by a single voice, consists of
“What is that noise now? What is the wind doing? Do
In Boni (shown second in this note), 119 was a turned line, so 121 could not be shown as stepped (1925, likewise). TSE could not have written notes to the poem such as “Cf. Part III, l. 204” without giving line numbers, so the numbering first printed in Boni presumably derives from him. Apparently he had no practical option but to number each of these part-lines separately (but see [V] 345).
[II] 117 = 172 “What is that noise?”] “What-is-that-noise?” altered to “Whatisthatnoise?” Pound ts2a (after adding hyphens, he indicated that the words should be run together)
[II] 117 ^ 118 = 172 ^ 173] line space ts2
[II] 118] centred 1936, 1963+ ‖ stepped from end of 117 Q, Criterion, Hogarth, Sesame ‖ ranged to right margin Dial, Boni ‖ deep indent T/W, 1925, Penguin, Valerie’s Own Book, ms1960
[II] 118 = 173] with “Beddoes” Pound ts2a
[II] 118 ^ 119 = 173 ^ 174] line space ts2
[Poem I 59, 329–30 · Commentary I 632–33]
[II] 119 doing?”] doing? Hogarth
[II] 120–39 = 175–94] “Yes & wonderful wonderful” Vivien Eliot ts2a
[II] 120–22 = 175–77] ts2:
Carrying
Away the little light dead people.
“Do you know nothing? Do you see nothing? Do you remember
with little ringed with “Blot on Scutchen” Pound in ts2a. In the line of space, deeply indented, “Do was added in ink, in imitation of type (compare lust 158), intending that the first word of the next question be brought back as a single-word line from 177 (where it is deleted in ink) so as to read “Do | You know …” (the published reading). The transposition was apparently misunderstood as an insertion into 177 and the added “Do was therefore lightly bracketed with “?” in another hand, perhaps Vivien Eliot’s. In subsequent texts Carrying | Away the little light dead people is replaced by one quite different line:
Nothing again nothing.
“Do
“You know nothing? Do you see nothing? Do you remember
[II] 120 = 175] centred this edition ‖ aligned with 118 = 173 Q, T/W, Criterion, Hogarth, 1936+ ‖ indented more ts2, Valerie’s Own Book ‖ indented less Boni ‖ ranged to right margin Dial
[II] 120 ^ 121] new page so line spacing indeterminate Criterion
[II] 121] stepped from end of 119 1936, 1963 ‖ very deep indent Q, T/W, Criterion, Boni, Hogarth, 1925, Sesame, Penguin, US 1952, 1974+, Valerie’s Own Book ‖ ranged right Dial
[II] 122 “You] You Dial, Criterion, 1974+
[II] 123 “Nothing?”] Nothing?” Dial, Criterion
[II] 123 ^ 124 = 178 ^ 179] no line space Q, T/W, printings prior to 1925, ms1960, Valerie’s Own Book ‖ new page so line spacing indeterminate 1925 ‖ line space ts2, 1932+
[II] 124] stepped from end of 123 Q, T/W, Criterion, Dial, Hogarth, Valerie’s Own Book, ms1960 ‖ indent Boni, 1925+
[II] 125 = 180] The hyacinth garden. Those are pearls that were his eyes, yes! ts2, with yes! ringed and del Pound with “Penelope J.J.” in ts2a (see Commentary) ‖ The hyacinth garden. Those are pearls that were his eyes. Q ‖ Those are pearls that were his eyes. T/W, Dial, Criterion (all beginning after an indent equivalent to the space occupied by the omitted words); Boni, 1925+ (all ranged left); Hogarth (ranged right)
[II] 125 ^ 126 = 180 ^ 181] line space ts2
[II] 126 = 181] with “photo” Pound ts2a
[II] 126 ^ 127 = 181 ^ 182] line space ts2
[II] 127] stepped from end of 126 this edition ‖ very deep indent (beyond 121) Criterion ‖ ranged right Q, T/W, Dial, Boni, Hogarth, 1925, Sesame ‖ indented below 121 1936+
[II] 127] not 1936 proof but added TSE and ticked
[II] 128 Rag—] Rag T 1st reading, W, Criterion
[Poem I 59, 329–30 · Commentary I 632–34]
[II] 128 ^ 129] line space Criterion
[II] 129 = 184 elegant] elegant— ts2
[II] 130 = 185 intelligent] intelligent— ts2
[II] 130 ^ 131] line space Dial, Criterion, Hogarth ‖ new page so line spacing indeterminate Boni ‖ no line space Hogarth proof, 1925+
[II] 131 do?] Dial, Criterion, 1974+, Valerie’s Own Book ‖ do?” Boni, Hogarth, 1925, 1936, 1963, 1969 (error, see Commentary). Kristian Smidt wrote to ask about the quotation mark which was long printed at the end of this line, but TSE looked by mistake at [II] 134, and replied, 31 Oct 1958: “The quotation mark at the end of ‘What shall I do’ is correct.” He continued, referring to [II] 135–38: “The remaining lines are thought, but left unspoken by the man to whom the lady is speaking.” On 23 Dec after a further inquiry from Smidt, he corrected his initial misidentification: “the first quotation mark [131] should certainly be deleted, and I hope that this correction can be made in all future printings of the book.” It was not. A Faber memo from Valerie Eliot, 21 Oct 1969, asked for its deletion. Her memo added that the quotation marks at the beginnings of 132–34 should be deleted as misleading because “it is one person talking throughout”, but see Commentary [I] 69–76 for this convention, observed in all texts from 1923 to the end of TSE’s life.
[II] 132–34] no quotation marks at heads of lines Dial, Criterion, 1974+ (see Commentary)
[II] 133 = 188 “With] With Hogarth, Guild
[II] 134 ^ 135 = 189 ^ 190] line space ts2
[II] 135] stepped or ranged right (indeterminate) Boni, 1925 ‖ ranged to right margin Dial
[II] 135 = 190 hot water] hot water bottle Vivien Eliot with “!” ts2a
[II] 136–38 = 192–94] see The Death of the Duchess II 45–49:
And if it rains, the closed carriage at four.
We should play a game of chess
The ivory men make company between us
We should play a game of chess
Pressing lidless eyes and waiting for a knock upon the door.
[II] 136 = 191 a closed car] WLLetter (the proposed new reading, although the first word is underlined to emphasise that it has changed, and is capitalised because of its position in the letter) with “OK” Pound, Q, Boni ‖ the closed carriage ts2 with last two words ringed by Pound with “Why this between 1922 & Lil” and “(1880)” ts2a ‖ the closed car T/W
[II] 137 = 192 chess,] Q, T/W, Boni+ ‖ chess: ts2 ‖ chess ms1960
[II] 137a = 193 (The ivory men make company between us)] Valerie’s Own Book (with footnote: “Line omitted from published text, at Vivien’s insistence”), ms1960 ‖ The ivory men make company between us ts2, Q, added TSE in the margin of Curtis 1936 (ending with comma) ‖ line space T/W ‖ not Boni+
[II] 138 a] the TSE’s 1933 recording
[Poem I 59–60, 330 · Commentary I 634–38]
[II] 138 ^ 139 = 194 ^ 195] two-line space Q, 1936 (to avoid widow), 1963+ ‖ five-line space ts2 ‖ single line space T/W, printings prior to 1936, Faber Bk Mod V, Sesame, Penguin. Both Sel Poems and Collected Poems reverted to a single space in 2002.
[II] 139 = 195 got demobbed, I said—] coming back out of the Transport Corps ts2, all del and last two words ringed with “?” by Vivien Eliot, who then wrote demobbed (see Commentary), above which TSE wrote Discharge out of the army with “??” ts2a said—] said, Q, T/W, Dial, Criterion
[II] 140 = 196 didn’t] said ts2 1st reading (typed over) ‖ didnt Q
[II] 141 = 197, as also 152, 165, 168, 169 = 208, 221, 224, 225] full capitals ts2, Q, T/W, Valerie’s Own Book, ms1960 ITS] without apostrophe Q, T /W, Boni, Dial, Hogarth proof, 1925, 1936, Sesame (later emended), 1963, Valerie’s Own Book ‖ with apostrophe ts2, Criterion, Hogarth, Penguin, Mardersteig, ms1960, 1971B TIME] without full stop T/W (except 152, 165), Boni, Dial, 1925+ ‖ with full stop ts2, Q (except 168, 169), Criterion
[II] 141 = 197] with “perhaps better not so soon. Cld you put this later.” Vivien Eliot ts2a, del ‖ with “Later?” TSE ts2b
[II] 142–64 = 198–220] no quotation marks Q, T/W, Boni+. (See WLComposite for their occurrence in ts2. It may have been while typing ts2 that TSE realised the advantages of not specifying where speech begins and ends, for he allowed quotation marks to lapse and did not use them in 222–23.)
[II] 142 smart.] smart, ms1960
[II] 143 = 199 what] with ts2 1st reading (uncertain, typed over) done] T/W, Boni+ ‖ did ts2, Q
[II] 144 = 200 I] he (or perhaps be) ts2 1st reading there.] there, Valerie’s Own Book
[II] 145] not Valerie’s Own Book 1st reading (copying error) set,] set. Q, T/W
[II] 147 = 203 can’t] can ts2 said,] said; T/W 1st reading
[II] 148 time,] time. Hogarth
[II] 149 = 205 don’t] ts2, T/W, Dial+, 1971B ‖ dont Q, Boni there’s others will, I said.] Boni+ ‖ there’s many another will”. ts2 with s many another (including last letter of there’s) marked at corners in pencil by Pound then ringed in ink probably also by Pound ts2a ‖ theres many another will. Q ‖ there’s others will. T/W
[II] 150 = 206 Oh is there,] T/W, Boni, Dial, Hogarth, 1925+ ‖ “Other women”, ts2, bracketed Pound ts2a ‖ Is there, Q ‖ Hoh, is there, Criterion Something o’] Q+ ‖ Something of ts2, with Somethink o’ Vivien Eliot and TSE’s response “I want to avoid trying show pronunciation by spelling” ts2a
[II] 151 = 207 give] gave ts2
[II] 153 = 209
If you don’t like it you can get on with it,] Vivien Eliot in margin of ts2a, added by TSE in margin of ts2b (both without apostrophe), Q, T/W, Boni+ ‖ “No, ma’am, you needn’t look old-fashioned at me”, ts2, with first seven words del by Viven in ts2a but only the second word—ma’am—del by TSE in ts2b said.] 1932+, 1971B ‖ said, ts2, Boni, Dial, Criterion, Hogarth ‖ said 1925, 1932 proof with full stop added TSE
[II] 154 = 210 can’t] ts2, Boni+ ‖ cant Q, T 1st reading, W
[II] 155 = 211 won’t] ts2, Dial+, 1971B ‖ wont Q, T/W, Boni telling.] telling, ms1960
[II] 157 = 213 (And] —(And ts2
[Poem I 60, 330–31 · Commentary I 638–39]
[II] 158 = 214 can’t] cant Q said] says T/W, Criterion pulling] putting on ts2
[II] 159 = 215 It’s] Its Q, T/W them] that ts2 pills] Q, T/W, Boni+ ‖ medicine ts2 ‖ stuff pills Vivien Eliot ts2a to] Vivien Eliot ts2a, Q, T/W, Boni+ ‖ in order to ts2 off, she said.] Q, T/W, Boni+ ‖ off”. (quotation marks and full stop superimposed) ts2 ‖ off, she says. T/W, Criterion
[II] 161 = 217 all right] Dial, Criterion, 1925+ ‖ allright ts2 ‖ alright Q, T/W, Boni, Hogarth (see Commentary)
[II] 162 = 218 are] are T/W, US 1952, ms1960
[II] 163 = 219 Well,] Well ts2, Q, T/W, Dial won’t] ts2, Dial+, 1971B ‖ wont Q, T/W, Boni said,] Q, T/W, Boni, Dial, Hogarth+ ‖ said. ts2, Criterion, ms1960
[II] 164 = 220] What you get married for if you don’t want children? Q, T/W, Boni+ (without apostrophe in Q, T/W, Boni) ‖ “You want to keep him at home, I suppose”. ts2 ‖ What you get married for if you dont want to have children Vivien Eliot ts2a, with last word perhaps changed to chillren ‖ What you get married for if you don’t want to have children— TSE ts2b 2nd reading
[II] 165 = 221 TIME] with terminal full stop ts2, Q, T/W
[II] 166 = 222 Well,] Well ts2, Q, T/W, Dial home] at home T/W
[II] 167–72 = 223–28] line spacing reduced and irregular T/W
[II] 167 = 223 asked] ask Vivien Eliot ts2a
[II] 167 ^ 168 as also 169 ^ 170] half-line space ms1960
